Waikato Regional Theatre Feature

World-class theatre sets new standard for Waikato

When the then-Chair at Momentum Waikato Leonard Gardner first pondered how to deliver a world-class theatre to the region, it was to an established box-ticking framework that he turned.

It was 2016. Hamilton City Council had already made the decision to close the city’s flagship Founders Theatre and were considering how to replace it.

Momentum Waikato approached the Council with a proposal. Chair Leonard Gardner and his team had already worked through a strategy they applied to projects, a term he framed as TISO.

“TISO stands for Transformational, Intergenerational, Strategic Outcomes,” Gardner said.

“Momentum trustees had come up with that about a year prior, and when the Theatre opportunity arose, we saw this as a great strategic fit to serve the Waikato community, and a reason to step into a leadership role to make it happen.”

With the green light given to the co-operative venture between HCC and Momentum, a series of meetings followed, intended to work out exactly what was wanted, define the Theatre’s specifications and identify a location.

“There were two significant parts to it,” Gardner said. “We wanted to deliver a venue that would see the best in the world wanting to come to the Waikato, and where the best in Waikato could be seen by the world.

“With that in mind, we partnered with international theatre designers Charcoalblue to determine what would make the Theatre a success and find the right location to put it on, with a view to it meeting requirements well into the future. In developments such as this, the locality is simply an enabler. We looked at 28 different potential sites based on certain criteria.”

Among those locations was the

“There were two

significant parts to it.

We wanted to deliver a venue that would see the best in the world wanting to come to the Waikato, and where the best in Waikato could be seen by the world.”

Leonard Gardner

existing Founders site, Hamilton Gardens, Waikato University, Claudelands Event Centre and elsewhere in the CBD. A shortlist brought the 28 down to seven potential sites, with the old Hamilton Hotel site at the south end of Victoria

St finally chosen as the preferred option.

There were solid reasons for that. “It was considered the best in terms of connecting with the river, it would help rejuvenate the city and there were benefits linked to its proximity

to Hamilton’s hospitality and arts precinct.”

The proposition is that its location in the heart of the arts and hospitality precinct will bring more life to the area as theatregoers come and go, tapping into those elements of Hamilton’s night life.

The evaluation of the site deemed it was one that could deliver a world-class theatre capable of hosting performing arts events of an international calibre. Locally, it was seen as an opportunity to enhance a key hospitality and creative zone, as well as adding potential to build on that, thereby contributing to the long-term revitalisation of the CBD.

The Waikato Regional Property Trust, which will own the Theatre, was founded in late 2018 to replace the earlier Theatre Governance Panel. Much of the following year was centred on obtaining resource and building consents, securing sponsorship and shoring up funding, and in mid-2021, Fosters was awarded the contract for construction.

The build started in late 2021. Gardner, with his extensive background in construction and development, was realistic about the potential for teething problems, and while Covid-19 delivered some unplanned problems and delays, whatever else came up was managed.

With the whole site designated a heritage area, Heritage New Zealand had been a key element of the resource consent process. It was agreed to retain the Hamilton Hotel frontage onto Victoria St, while rebuilding everything behind

it, which provided a safer public outcome for the longer term.

The only real hold-up was tied to uncertainty on the clearance between the Theatre and the Hua o te Atua urupaa on the adjacent riverbank, but subsequent action involving Momentum and the relevant mana whenua groups saw a tapu-lifting ceremony conducted on the site, and the project was able to proceed.

The sheer complexity of the project was Gardner’s biggest challenge. A theatre, he said, is one of the most complicated builds any construction company can do.

“There are so many technical

elements to be taken into account … the way the space is constructed, requirements around sound and lighting.”

As the project nears its end, Gardner is ‘incredibly excited’ at delivering on a performing arts centre that he says will set a new standard for Hamilton, the Waikato and New Zealand.

“This project has been supported by some very prominent Waikato families who have contributed considerably to ensure we reached this outcome,” he said. “I hope the community will be delighted with what has been achieved and turn out to support it.”

“This project has been supported by some very prominent Waikato families who have contributed considerably to ensure we reached this outcome. I hope the community will be delighted with what has been achieved and turn out to support it.”

Leonard Gardner

Experience and innovative thinking brought in the donors

When Janice Lapwood joined Momentum Waikato in 2018, she found herself staring down a Waikato Regional Theatre fundraising barrel with a then-target of $74 million.

By 2021 that figure had moved out to $80 million, but not one to baulk at seemingly impossible tasks, Lapwood tapped into her extensive fundraising experience, enlisted the aid of those she knew could help and got the job done.

This fundraising project, which has taken over seven years, is her third involving a theatre.

The first was Waikato University’s Gallagher Academy of Performing Arts, and the second, a centre of performing arts at Hamilton’s Southwell School. After that, she was back at the University of Waikato working on the donor development plan for the first iteration of the Waikato Medical School.

Coming to Momentum Waikato, Lapwood immediately launched into fundraising for the ambitious new theatre project. Momentum had committed to raising the capital funds, from public, community, business and private sources, and she started by mapping out potential prospects across the region.

“Together with my former CEO Kelvyn Eglinton, we focused heavily

on the central and local government at that stage. They became our biggest funders, seeking donations in excess of $1 million,” she said. “That accounted for 89% of the required funding for the capital project.”

Those early financial commitments included Hamilton City Council’s (HCC) $25 million, Trust Waikato’s $15 million, Waikato Regional Council’s $5 million, and the Provincial Growth Fund’s $13 million.

Lapwood then established a dedicated fundraising campaign she called the ‘Major Donors Campaign’. Within that framework, Bronze, Silver, Gold and Platinum partnerships were offered for those able to donate between $25,000 up to just below $1 million. The fundraising campaigners comprised volunteers Glenn Miller, Linda Rademaker, Jon Tanner, Michael Crawford, John Gallagher, Nancy Caiger, Ken Williamson and Glenn Holmes.

“They helped me open doors to major donor prospects for the new Theatre. This remarkable group of volunteers weaved their magic in a way that was respectful when seeking financial support for the Theatre development,” she said. “I am forever grateful to them for their guidance and support.”

That campaign generated 8% of the required fundraising value.

With that in mind, Momentum launched the ‘Share the Stage’ fundraising campaign in May 2022. It kicked off with an event at the Theatre site that included the first public screening of a promotional video, followed by other Share the

Stage events over the next two years. These included presentations with business groups, including the Waikato Chambers of Commerce and the Hamilton Central Business Association, a Quiz Night for the performing arts community at The Meteor, and a showcase of local artists at Clarence St Theatre.

The campaign had a large digital presence promoting the Share the Stage opportunity, driven by

This remarkable group of volunteers weaved their magic in a way that was respectful when seeking financial support for the Theatre development. I am forever grateful to them for their guidance and support.”

Janice Lapwood

Momentum’s Mark Servian enlisting the help of local agency PAN Media.

The Share the Stage campaign had two distinct offerings – one was the ‘Business Collective Support’ bringing a group of businesses on board, the other offering the naming of auditorium seats to individuals, families and groups via ‘Take a Seat’.

“Share the Stage enabled the community to play their role in the project … to have skin in the game, as it were,” Lapwood said. “To take advantage of this once-in-ageneration opportunity, regardless of donation size.”

It was a triumph, with some 600 donors coming through Share the Stage. The ‘Take a Seat’ initiative, which ended earlier this year in order to allow for the engraving of name plates to be done in time for the Theatre’s opening, was a huge accomplishment.

“There have been people who have paid off their pledges in instalments

and others who have bequeathed the name on a theatre seat to a loved one who has passed.”

Lapwood has employed the ‘Take a Seat’ concept for earlier campaigns and likes the way it engages with a wide cross section of the community.

Describing the part she has played as a ‘challenging yet fulfilling experience’, she has built sound relationships with many as she has connected with the donors.

It’s been one of Lapwood’s bigger tasks to date, but in terms of sheer effort, the Share the Stage campaign takes the win.

“That community campaign

demanded the most effort,” she said.

“In fundraising there is something called the 80:20 concept, whereby a small number of donors (20%) contribute the majority of funds (80%). In the case of this new Theatre, it was a greater split. We were more like 89:11, which was a result of the significant support from the likes of HCC, Trust Waikato and several central government entities.

“Overall, the capital campaign has been an incredible journey to lead, and this new Theatre will be a lasting legacy for our region’s creative landscape.”

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Obstacles overcome in theatre delivery

Waikato Regional Property Trust (WRPT) chairman Ross Hargood has likened the process of delivering the new theatre to the seamless delivery of a fine orchestral piece of music, one in which each participant knew their task and delivered it expertly.

“I have been fortunate as Chair of the Trust to be surrounded by very capable trustees who have continued their day jobs while adding significant value to the project,” he said, adding the appropriately-chosen music analogy, “it was as if I was the conductor of an outstanding orchestra in which everyone knew their instrument, and each was in a class in their own right”.

The Waikato Regional Property Trust was formed in 2018 with the goal of delivering a ‘world-class’ theatre for the Waikato region.

“Over the past seven years, we have worked with world-class consultants, project managers and construction companies to reach the point where we will deliver the completed Theatre to our community in early January 2026,” Hargood said.

Despite facing Covid-19 during that time, as well as going through a period of unprecedented escalation of costs, the Trust was able to remain focused on its goal.

He spoke to “the superb fundraising effort by Momentum Waikato, our consultants project

managers RDT Pacific, theatre consultants Charcoalblue, architects

Jasmax, quantity surveyors Kingston Partners, and the wonderful Foster Construction, who have met a multitude of challenges and identified ways to still deliver on the overall goal and make savings that did not in the end affect the quality. And, of course, the foresight of the Hamilton City Council, past and current mayors, who have continued to support our project.”

Hargood said he was ‘very proud’ of all those involved, particularly those who had guided and supported him throughout the process.

“They are the true heroes of this amazing project.”

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New mayor sees theatre as “gamechanger” for Hamilton

Newly-minted Hamilton Mayor Tim Macindoe described the return of a major theatre facility to Hamilton as a ‘gamechanger’ that signalled a strong vote of confidence in the city.

Macindoe, who is a former chief executive of the Music and Art Waikato Trust (Arts Waikato), said: “I have always been a champion for the world-class Waikato Regional Theatre, also in my previous role

as Ambassador for the Momentum Waikato Community Foundation, and earlier during my term as a Hamilton West MP.

“It is fantastic to see a major theatre facility return to our city, operated by the renowned global entertainment company Live Nation. It’s yet another strong vote of confidence in Hamilton and our future.”

An enthusiastic and passionate supporter of the arts, Macindoe said the new Theatre would be an absolute gamechanger for the CBD.

“It will be very exciting for our city. The Waikato Regional Theatre will bring amazing shows to Hamilton. It will also be a key driver in the revitalisation of the central city, helping make it a sought-after destination.”

Macindoe was equally complimentary about the building’s interior, saying its stage area would accommodate major orchestral, ballet and operatic performances without compromising sound quality, as was the case previously at the Founders Theatre.

“Thank you to the generous funders, large and small, and to past councils who have made this possible,” he said. “There is nothing quite like the magic of a live show to bring people, a city and a region together. I can’t wait.”

New theatre projected to anchor city centre revitalisation

Hamilton City Council’s deputy chief executive officer Sean Murray isn’t mincing words when it comes to the new Waikato Regional Theatre. It’s a gamechanger, he says, one that will deliver a state-of-the-art proscenium-arch theatre set to rival its global peers, one he believes will firmly anchor the long-overdue revitalisation of Hamilton’s city centre.

Murray’s projections come from a place of knowing. His depth of management and leadership experience across local and international zones is impressive.

He has successfully led commercial property investment portfolios, including major building projects, strategised and managed sizeable events and led visitor industry development activities straddling New Zealand, Australia, the United Kingdom and the United States.

Yet this project, the planning and development of a Regional Theatre that has captured his attention for over a decade, is something he considers to be one of the biggest of his career.

“This has been a truly remarkable story. It hasn’t been without its challenges, but realistically it was an incredibly ambitious project for a city of our size,” he said. “Now, as we are nearing the finish line, we can see just how remarkable an outcome this is … not just for the Waikato, but for New Zealand.”

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The Waikato Regional Theatre is set to open officially in January, bringing to the region a worldclass performance venue designed to accommodate a wide range of events including music across all genres, performances from serious dramatic to comedy, orchestras to pop concerts, family entertainment and musicals, kapa haka, and an array of community ceremonies. Its cleverly designed spaces –incorporating a main auditorium, rehearsal spaces and multi-purpose areas – will accommodate 1300 and will expand the Waikato’s capacity to host top-class performances from local and international talent in a way the region hasn’t seen before.

Murray played a key role in the $80 million project from the start, although he is quick to emphasise that the then-Hamilton Mayor, Julie Hardaker, was a strong driver behind the scenes. As he muses on the endpoint just around the corner, he suggested it was timely to remind some early naysayers of the generous support that has enabled the project to go the distance.

“We knew the community was there from the start, but we weren’t sure it was there with the money. And to be honest, there were some sceptics who believed we’d never get there … yet here we are, thanks to the generous groundswell of support from the organisations and individuals who have dug deep.”

Of the original $80 million budget for the Theatre, Hamilton City Council capped their contribution at $25 million. A further $5 million came from the Waikato Regional Council, with the rest coming in from a combination of central government and donations from big individual funders, most of them influential New Zealanders keen to back the project in deed as much as in word.

“It does amaze me that Hamilton has the benefit of those strong connections. This city should be extremely grateful to those people and their families.”

The Waikato Regional Theatre has been some 11-12 years in the making.

It was around then, said Murray, that the Hamilton City Council conducted a review of the theatres it owned in the city – The Meteor and Clarence St Theatre, and Founders Theatre.

“We gifted The Meteor and Clarence St Theatre to community groups and then looked at upgrading Founders. As part of that process we found it had severe problems, so the decision was made to close it down … an easy decision from a safety perspective, but one that was hard in terms of the impact on the community. We later found the building was also severely earthquake-prone.

“We then went to the community to gauge opinion around the potential for restoring Founders. We were then approached by Momentum Waikato – they asked if we were open to them partnering with us to build a brand-new theatre, with them running the build and taking it out of council hands.

“From the council’s perspective, that was gold.”

From there, key partnerships were formed, driven by Momentum

“It does amaze me that Hamilton has the benefit of those strong connections. This city should be extremely grateful to those people and their families.”

Sean Murray

Waikato who created the Waikato Regional Property Trust (WRPT) in October 2018. An early alliance was the one Murray forged with former Momentum man, Fosters’ director Leonard Gardner, whom he said had “the vision, the courage and wherewithal”.

“We worked through the process together initially, then it was Leonard and the team at Momentum. They raised the money, while I kept close to the process from the council’s perspective and contribution.”

Securing the site overlooking the Waikato River, in the heart of the CBD and with the building’s historic frontage was another win in Murray’s books.

“The key thing about that locality is that the Theatre is going to be a big driver of the revitalisation of the central city,” he said. “The CBD needs a lot of work, and this is going to be a major anchor. It has a stunning outlook across the river … it has hospitality and is going to be open all day. This building is going to be a major factor in making Hamilton CBD a sought-after destination. “

Murray is equally complimentary about the building’s interior.

“One key factor is that the stage area will be much bigger than at Founders, which means that larger groups such as the New Zealand Symphony Orchestra, the Royal New Zealand Ballet or New Zealand Opera will be able to perform full noise,” he said. “Previously, at Founders, those groups always had to pare down their sound because the stage was smaller.”

There have been the inevitable questions fielded over the past decade, including some grounded in an initial resistance around the demise of Founders Theatre. Murray said there had been expressions

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of disappointment from some in the community unhappy at losing Founders, but said that was going to happen eventually anyway.

Concerns have been raised around parking and accommodation to host the burgeoning numbers expected to visit an already busy CBD.

On the latter, he said two new hotel projects coming on stream for Hamilton – the centrally-based Pullman Hotel and the Victoria on The River (VOTR) complex – will considerably boost hotel bed capacity once they are operational. Parking is available at numerous close-by parking buildings, he said, adding that it is quite likely transport arrangements will be formatted for those coming into the city from

further afield, as has been done for other big functions in the city.

Murray is deeply grateful for the support of the city and the wider region. He can sense the validation for an early nugget of an idea that has turned into gold.

“From a council perspective, there have been challenges. Some people have found it difficult to accept that this project would actually materialise. There were those who believed a city of this size simply could not field a project of this magnitude,” he said.

“But in partnering with the Trust (Waikato Regional Property Trust) and Momentum, it has been delivered … and what a magnificent result we have.”

‘Breathtaking’ commercial precinct set to open soon

When Tonia Cawood got the call in late May to apply her suite of skills to help secure additional investor partners for the new Waikato Regional Theatre’s commercial precinct, she immediately said ‘yes’.

Cawood has years of experience in marketing, branding, high performance, facilitation, strategic project leadership and in leadership coaching; among the transformational projects she has deftly handled is the National Cycling of Excellence at Cambridge’s Velodrome.

“When I got the call asking me to help support the commercial precinct, I got goosebumps. I know just how important these spaces are to the wider community … I didn’t hesitate. I joined them in June this year, delayed other work I was doing, then hit the road running.”

She said the Theatre project was a particularly good fit.

Cawood is a Waikato girl born and bred, one with a deepseated interest in the arts.

She remembers growing up performing in school productions and choirs, years of jazz ballet end-of-year performances, then again

with her own daughter’s dance school rehearsals and performances, going to the big name shows that came to town, and way back, treading the boards at Founders Theatre as a Little Miss Waikato escorting the contestants across the stage in the Miss Waikato pageants.

And it was at the original Hamilton Hotel where her mother organised fashion parades for charity fundraising.

“That was part of my own childhood and my daughter’s childhood, and as I’ve gone through this process, many have their own stories of similar theatre and community experiences. That makes this project very special to me, and I know how valuable that is for our future community cohesion.”

Long before that call came to join the team, Cawood stepped up with her own support, tapping into the Share the Stage’s ‘Take a Seat’ funding initiative and putting in $1500 for an auditorium seat to be named for her family.

“That was my first contribution.”

Because fundraising for the Theatre itself was a key priority for the project and was done separately, seeking investors

for the commercial precinct came on stream slightly later. It was to shore up additional investment partners for that segment that Cawood came on board.

She was immediately mindful of the need to recognise those who had already pledged financial support and was keen to give recognition for that invaluable input.

“These were families, individuals and groups who wanted to give back to a region that has supported them over the years, and continues to do so,” she said. “Both parts – the Theatre and the commercial precinct – will work together as one asset for the wider community. It has been important for me to honour the contribution of those benefactors already in, but I also realised that a lot of people don’t know of the real need still active, or how to get involved in the commercial precinct unless they are specifically approached.

“That’s where my work comes in, and I consider it a real privilege. There were already six Founding Family partners for the commercial precinct. More visionary investors are coming on board, and while fundraising for the

“Both the Theatre and the commercial precinct area are breathtaking. The quality and beauty is exceptional. The construction and restoration craftsmanship by the team at Fosters is outstanding. This is a very special place, and to be able to build an intergenerational legacy by becoming a part of it is something very special.”

Tonia Cawood

Theatre itself has been successfully completed, we are still actively seeking partners to invest in the commercial precinct, which will return both heartfelt and commercial returns with seamless connection to the Theatre.”

Cawood described that zone, which fronts onto Victoria Street but links to the Theatre at the back, as multifunctional.

There will be five distinct hospitality offerings within the precinct, delivered by local hospitality heavyweights Mat Pedley, Alex Hudson and John Moughan. These will include a French-inspired bistro, a neighbourhood pub, a speakeasy cocktail lounge, a deli and a bar.

Jonathan Knapp will take on the management of the street-facing Hamilton Hotel, which will be the key entrance area to the entire Theatre complex.

He is on record as declaring it ‘the biggest project in Hamilton’ and says it is as much about investing in Hamilton’s CBD as it is about hospitality. It is also an investment in staff, with some 80 staff likely to be hired across the precinct’s venues.

Cawood said the upper level will provide a large space with varying, still-to-be defined spaces.

“Space there is flexible … it could be open to a range of uses that might celebrate the arts, for example. Additionally, the Founding Families

Lounge will offer an exclusive space for the partners to gather before and after shows and use throughout the year.”

While the Theatre itself is set to open officially in mid-January, the hospitality area will open a month or so beforehand and will be available during the day.

The commercial precinct is intended to be a gathering place for the community, a place seen as a connector between those who enjoy Hamilton’s wider community and ardent theatregoers who will utilise the vibrant spaces before and after performances.

“I have been fortunate enough to show people through some of

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these areas while construction has been underway and can say without hesitation that both the Theatre and the commercial precinct area are breathtaking,” Cawood said. “The quality and beauty is exceptional. The construction and restoration craftsmanship by the team at Fosters is outstanding. This is a very special place, and to be able to build an intergenerational legacy by becoming a part of it is something very special.” Those keen to find out how they can still support the Theatre project’s commercial precinct are invited to contact Tonia Cawood at tonia@ thecompanyyoukeep.nz or on 027 480 4234.

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For those who love nifty numbers...

There are some amazing stats associated with the Waikato Regional Theatre project. Here goes with some of those tracked to date … bearing in mind there are still over two months to go before the Theatre opens.

13 steel supports held up the Hamilton Hotel façade for 2.5 years

7300 cubic metres of

1800 tonnes of

2 cranes, 2 operators, 4 dogmen (guys on the ground) from January 2023 to March 2025 = 34,800 crane hours

205 stage lighting (SL) and AV facility panels installed

536 companies

involved in the project

As of August 2025, there were 577,284 physical hours recorded on site, with 343,892 hours recorded in the past 12 months

The Stage Engineering Package

General power & electrical

Installed by Feisst Group (Feisst Electrical)

121km of cabling was installed by the Feisst Group, almost the exact distance from Waikato Regional Theatre to Auckland’s Sky Tower

Over 8km of cable tray installed

SL/AV stats

Installed by Feisst Group (Structured Technologies)

607 data tie lines

180 audio tie lines

195 loudspeaker tie lines

184 video tie lines

144 fibre optic tie lines

205 total SL/AV facilities panels

25,620m of Cat6 cable

45,449m of Cat6a cable

2000m of 2 core 4mm speaker cable

WRT houses,

two main switchboards and 22 distribution boards

11,436 of 4 core 4mm speaker cable

16,500m 1PR

24AWG 0.22mm audio cable

11,000 of RG6 75Ohm video coax cable

2600 of OM4 multimode fibre optic cable

1500m of OS2 singlemode fibre optic cable

4000m of 2 core

2.5mm 100V line level speaker cable

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Curtains up on regional legacy

When Foster Construction’s Ben Royfee and Tim Strawbridge attend the opening night of the Waikato Regional Theatre, they’ll be scanning every corner with a builder’s eye.

Two months out, the site remains a hive of activity. With tight deadlines looming, the team is racing toward practical completion later this month, after which Fosters will collaborate with Live Nation on the fit-out.

On Monday, January 19, the Theatre opens its doors for three nights of community celebrations - To the Stars / Ki ngā Whetū - followed by performances from Sir Dave Dobbyn, Th’Dudes, The Mockers, and Stellar*.

That’s when the job will be done, says Tim Strawbridge, general manager of Foster Construction (BOP) Ltd. Ben Royfee, the project manager, adds:

“We’ll walk in on opening night and probably spot defects no one else would notice. That’s just how builders are - we’ve poured so much into

this, it’s hard not to see what could’ve been done differently.”

Tim recalls first seeing the Heritage NZ-listed Hamilton Hotel while pricing the project five and a half years ago.

“It was underwhelming. Squatters had been living in the building - it was a mess. But I could always see the end game: preserving the Victoria Street concrete façade and building behind it.

“None of it was insurmountable.

“I feel proud about the project – that we’ve got to the finish line through some tough times.” Tim Strawbridge

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“One minute, you’re dealing with technical theatre equipment and then the next thing you’re dealing with historic joinery and windows and building techniques.

“We had to have the ability to be able to jump from one of those mindsets to the other, within the same hour, potentially.”

Ben Royfee

“I just didn’t anticipate the journey.”

That journey included Covid delays, cost escalations and navigating the political sensitivities of a site with deep community investment.

“None of it was insurmountable,” says Tim.

“I feel proud about the project – that we’ve got to the finish line through some tough times.”

The site, once home to three hotels - two of which burned down in 1892 and 1922 - was riddled with buried waste and contamination. There were archaeologists, heritage architects and cultural advisors closely involved throughout.

“We rebuilt a historic building on top of a very technical theatre build,”

says Ben.

“One minute, you’re dealing with technical theatre equipment and then the next thing you’re dealing with historic joinery and windows and building techniques.

“We had to have the ability to be able to jump from one of those mindsets to the other, within the same hour, potentially.

“At any one time there would be six players in the mix having a say about outcomes and what they want and how they want it built and what’s right and what’s not right,” says Ben.

There are parts that were already complete when The News had a tour late last month.

“To actually see it finished and clean and things going on the wall, it’s pretty cool.

“You wouldn’t do this job if you weren’t proud of what you’re delivering.”

Among the challenges: four subcontractors went into liquidation, including a specialist Australian firm handling stage engineering and lighting.

“There’s not many companies that do that sort of work,” says Tim.

“So we’ve had to piece together that package with multiple different companies.”

The theatre equipment is so specialised and complex that experts had to provide that work.

After summer, Ben and Tim will take a well-earned break. Their next project is still unknown, but their legacy is cemented in the Waikato Regional Theatre.

Every time they walk past, they’ll feel it: pride in what they built.

J J NIVEN ENGINEERING LTD

• Pressure Vessels

• Mechanical Engineering

• Steel Fabrication • Machining

Acoustic Wave

A peek at the Acoustic Installations progress. Visit the Waikato Regional Theatre to see it unveiled!

MCN Shipwrights Ltd are proud to be associated with this unique once in a lifetime project.

Exhilaration as project nears the end

Two men deeply connected with delivering the Waikato Regional Theatre and shaping its future, Michael Gilling and Gus Sharp, are approaching the upcoming opening with a sense of exhilaration.

Gilling’s appointment as the Theatre’s venue manager came earlier this year following the cementing of a partnership linking the Waikato Regional Property Trust with the world’s leading live entertainment company, Live Nation.

Now just a couple of months away from the Theatre’s opening, he said there was a real sense of anticipation and pride building among the team and the wider community.

“It’s an incredibly exciting stage to be at. We’re seeing years of planning and hard work finally transform into a tangible, beautiful space. Of course, with any project like this there is a lot happening at once, but the focus is firmly on readiness and excellence. We can’t wait to open the doors and share this amazing venue with everyone.”

Gilling has more than 30 years’ experience in the events and entertainment industry. Having previously been part of some major projects, including the opening of Claudelands Arena (also built by Fosters) he knows what it takes to bring a venue to life ‘from the ground up’.

“What makes this one particularly special is the uniqueness of the Waikato Regional Theatre. It’s not just another venue … it’s a landmark for our region.”

He said the focus now is on bringing all the elements together seamlessly – from final technical installations and safety checks, to staff training and event planning.

“It’s about ensuring that when the curtain goes up for the first time,

everything works perfectly. We’re also working closely with contractors and creative partners to make sure every detail reflects the vision for the space – that blend of heritage and modern design that makes this Theatre so special.”

He teased some early shows – Sir Dave Dobbyn, The Soweto Gospel Choir, Th’ Dudes, Mockers and Stellar* – and suggested that those keen to see what else is coming sign up for updates at waikatoregionaltheatre.co.nz

Gilling is also mindful of the Theatre’s reach beyond the region.

“We feel strongly about it being a theatre not just for the Waikato, but an opportunity for those key drive markets including South Auckland and Bay of Plenty to have access to a world-class venue and entertainment.”

Waikato Regional Theatre’s general manager Gus Sharp described nearing the end of the project as ‘an extraordinary moment’.

“What started as an ambitious idea has become a landmark for the region. The building stands as proof of what can be achieved when generosity, determination and shared purpose come together.”

Sharp is known for his acumen at taking complex and ambitious project and delivering them with sound logic, clarity and stakeholder alignment.

“This project exists because people believed in it … our donors, partners and the community have carried it through every challenge. Their support is what has turned a bold concept into a world-class theatre.

“The Waikato Regional Theatre is more than a building. It’s a gift for the future, an intergenerational taonga that belongs to the community who built it, the artists who will fill it, and the audiences who will make it come alive.”

Anticipate Navigate Deliver

For over 80 years, we have worked with our clients across Aotearoa New Zealand to create a better built environment.

Ten years. One vision.

As Project Manager, RDT Pacific’s Hamilton team has guided the Waikato Regional Theatre from concept to completion, blending contemporary theatre design with heritage restoration to realise the dream of bringing the world to the Waikato and showcasing our region’s exceptional talents on the big stage. We’re so proud to have helped transform Hamilton’s riverfront into a vibrant cultural landmark for the Waikato.

Sustainability Advisory Leaders in Let’s talk. We’re listening. rdtpacific.co.nz

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